Rhythm is important in painting as it is in music. If one defines rhythm as "a pause incorporated into a sequence", then there can be rhythm in paintings. These pauses allow creative force to intervene and add new creations—form, melody, coloration. The distribution of form, or any kind of information is of crucial importance in the given work of art, and it directly affects the aesthetic value of that work. This is because the aesthetical value is functionality dependent, i.e. the freedom (of movement) of perception is perceived as beauty. Free flow of energy, in art as well as in other forms of "techne", directly contributes to the aesthetical value.
Illustration paintings are those used as illustrations in books, magazines, and theater or movie posters and comic books. Today, there is a growing interest in collecting and admiring the original artwork. Various museum exhibitions, magazines and art galleries have devoted space to the illustrators of the past. In the visual art world, illustrators have sometimes been considered less important in comparison with fine artists and graphic designers. But as the result of computer game and comic industry growth, illustrations are becoming valued as popular and profitable art works that can acquire a wider market than the other two, especially in Korea, Japan, Hong Kong and United States.
Modernism describes both a set of cultural tendencies and an array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th century and early 20th century. Modernism was a revolt against the conservative values of realism.[26][27] The term encompasses the activities and output of those who felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social and political conditions of an emerging fully industrialized world. A salient characteristic of modernism is self-consciousness. This often led to experiments with form, and work that draws attention to the processes and materials used (and to the further tendency of abstraction).[28]

Heller’s protagonist, Jim Stegner, is an unschooled but talented painter who struggles with drink, with womanizing, and with his temper. These traits have led him to be a killer, although Heller goes to great pains to let us know these acts are not premeditated. They’ve also, in accordance with these United States’ innate streak of violence, allowed him to be a cult figure - a talent around whom one feels it necessary to walk on eggshells. (For what it’s worth, this trait is to this reader and social observer the cause of a hollowness within the national psyche.) Stegner wants atonement for his acts, but he doesn’t know how to go about that. So Heller must allow Stegner to be the subject of retributive violence, which allows the painter, as might happen to a pre-adolescent child, to have atonement forced on him. Stegner is as a person and as a literary creation, a mess. Perhaps Heller intends him to be a faux Hemingway: hard drinking, bullying and a crybaby when those tables are turned on him. Stegner doesn’t seem to have the backbone about which an anti-hero’s fatal flaws can be built, though; he’s too much at the whims of fate for that. Heller tries to create philosophical depth for Stegner, but these attempts ring hollow. What he has created in Stegner, however, is a depiction of an instinctive artist, something the American psyche always seeks: talent and success untrammeled by subjecting that psyche to training and the lessons of culture and history. That Stegner is, in the end, a talented but pitiful figure, should tell the reader something very important: instinct that refuses at least a small measure of acculturation eventually become debased.

Color, made up of hue, saturation, and value, dispersed over a surface is the essence of painting, just as pitch and rhythm are the essence of music. Color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, white is. Some painters, theoreticians, writers and scientists, including Goethe,[3] Kandinsky,[4] and Newton,[5] have written their own color theory.